The Dallas daily herald. [volume] (Dallas, Tex.) 1873-1887, 1887-04-13
The NEW CRAZE.

Some Interesting and Valuable Sug-
ycstions for the Amateur Clay
NIodeler.
Modelling in clay is popularity suppos-
ed to belong exclusively to the sculp-
tors art. But this is mistaken notion.
The best teachers recommend model
ing, especially in bas-relief, as an inn
portant aid in the development of the
faculty of drawing. Bas-relief is the
simplest form of modelling, as drawing
is the primary step in the painters
art. 1t will also be found of invalu-
able assistance in wood-engraving,
wood carving, and kindred arts. And
the employment is withal so fascinat-
ing and productive of such pleasing re-
suits at small outlay of money and
labor that the amateur will find in it
alone an ample compensation, leaving
out the possibility of the knowledge
gained being turned to account in other
work.
The clay is easily procured at any
potter's, and should be finely ground
and free from hard Jumps. To ascer-
tain whether this be the case it may be
cut through and through with wire
(modelers usually have wire fitted
with handles for the purpose) 1t
should then be thoroughly beaten and
worked until it shall have become
tough and somewhat elastic and shall
have lost that property denominated as
"short." The tools used need not be
many or costly, although the "sets"
that are offered for the purpose are APP
palling in number and perpleXing to
the beginner. Two or three simple
wooden or bone blades and few scrap
ers with saw shaped edges are quite
enough, but the fingers, together with
tools shaped with convenient jack
knife, will be used more than any
other implement The shapes of the
tools required will suggest themselves
during the progress of the work.
A large slate or marble slab is a good
thing to work on, although board
may be utilized for the purpose if
the slate or marble be not at hand. A
plaster cast of on animals head is n
good first study, and will not be too
difficult if the worker has had any
practice in drawing Spread the clay
to the requisite thickness on the slab,
pressing it firmly so that there will be
no bubbles in it, and take care that it
be perfectly level and of uniform thick
ness. Then with the fingers form the
object, measuring the points with
compasses and scraping the clay away
TO initiate the contour, lines, and hol-
lows of the original. In this part of
tile work the eye must be rel ed on,
but it is very easily accomplished, pro-
vided there be not too much haste, and
the clay be scraped away very gradual
ly. The eyes, ears, nose, etc, are
then formed in the same way, using
such shaped tools as seem suitable.
After the outline shall have been finish
ed the details may be worked up, using
a tool with serrated edge for simu-
lating the hair, just as the rasp is used
in Woodworking. Smooth-hared ami
mails, such as the squirrel, cat or rab-
bit, are easier to represent than those
which have long, shaggy hair, which
requires deep scraping to form the
mass. The ground may be indented as
in wood-carving, using similar tools.
The work must, of course, dry slowly
to prevent cracking, and it may be
advisable to cover it with damp cloth
to prevent too rapid drying. 1t may
then be baked, if desired, and will be
practically indestructible.
After some practice on work of this
kind, in higher or lower relief, the
pupil NAV undertake foliage, although
it is not essential to the study of mod
cling figures, and is really very
d flicult branch of art much more
difficult than the lower forms of animal
life Copy from cast or carved leaves
at first gradually proceeding to draw
ings. Beware of making the leaves too
thin. There is. to me, an incongruity
in copying any thing that can not be
copied as nearly as possible. and with
clay it is imposs BILE to simulate the
thinness and transparency OF flowers
and foliage. so would recommend GO